Manual The Bassoon

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  1. Rainn Wilson: All About That Bassoon
  2. Instruments of the Orchestra VIII: The Bassoon :
  3. Check Out Some Past JazzEd Magazine Issues

There were bassoons for military bands with globular and other odd-shaped brass and wooden bells, bassoons in F and G called tenoroons, semi contrabassoons, and sub contrabassoons.

When organs were banned from English churches in as monuments to superstition and idolatry, music was supplied by small groups of instruments including the bassoon. Therefore, one of the earliest places bassoonists performed was in church.

How to Play the Bassoon

In most early music written for the bassoon, it was used merely to play the bass line and it was usually tied to the continuo part. Then, in , it became part of orchestras for French opera when Lully called for bassoons in his opera, Psyche. During the 18th century, major solo and orchestral music was written for the bassoon elevating it's importance in the orchestra and it began to break away from just playing the continuo part. To counteract this and make sound production easier, the reed, which is the part that produces the sound, is made larger.

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Musical Instrument Guide. The origins of the Bassoon Instruments of the bassoon family. The basson, and its unchanged traditional sound The basson, which has only a few keys and from which the modern bassoon developed during the baroque period, is a musical instrument in which a traditional sound endures.

Let's listen to how it sounds! The range of the bassoon. Comparing the sizes of the double reeds Compared to that of the bassoon, the tube, or "bore," of the basson is smaller, so producing a strong sound is difficult.

Rainn Wilson: All About That Bassoon

This development led to the construction of instrument families. During the Renaissance period the bombarde or pommer family included instruments in seven ranges, from the third octave above middle C treble shawm, the direct antecedent of the oboe to the contraoctave great bass shawm. In the course of attempts to extend the range downward it became necessary to produce a bass instrument also for the woodwind family which was on the one hand sufficiently agile and loud and on the other easy to handle.

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With the great bass shawm, the deepest member of the family, the shawms had reached the limits of their development: aside from the fact that its almost 3 meters long, straight tube was extremely unwieldy, a further downward extension of its range to below F2 was out of the question due to the fingering problems it posed. In the second half of the 16th century these attempts resulted in the construction of an instrument the body of which consisted essentially of a hollowed-out, U-shaped wooden block.

The tubing was conical along its entire length. A small S-shaped tube was attached to the narrow end of the tube to which the double reed was fixed. The other end flared out to form a bell. It is not known in which workshops dulcians, the direct antecedents of the modern bassoon, were first made.

Instruments of the Orchestra VIII: The Bassoon :

For many years the so-called phagotum was regarded as the direct forerunner of the modern bassoon. This was an instrument with two parallel wooden pipes which was made from onward by the Italian collector of musical instruments Afranio degli Albonesi. However, it was later found out that it really belonged to the bagpipe family, since it had metal reeds which were vibrated by means of bellows.

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Since the middle of the 18th century the bassoon has been known as the Fagott in German-speaking countries and the fagotto in Italian. Dulcians were made in several tunings. In the second volume of his Syntagma musicum Praetorius includes a total of eight tunings. The choristfagott enjoyed special status among the dulcians from the very beginning.

Its range was from C2 to G4, with the notes from C3 upward being produced by overblowing. The bell often had a perforated lid which made it sound similar to a stopped organ pipe. Challenging techniques were being required of stringed instruments as early as the 17th century, and the strings were proving themselves more than capable of meeting them.

Check Out Some Past JazzEd Magazine Issues

Greater demands were subsequently made on the wind instruments, too, particularly with regard to range and sound quality. These new demands meant that the pommer, with its inflexible timbre and limited range, gradually disappeared. The dulcian, on the other hand, possessed a host of qualities which made it ideally suited for further development.